Artistic journeys
Bach was in the habit of making expeditions to try different organs, or for other musical purposes, and his reputation began to spread through North and Central Germany. He invented a peculiar form of fingering for keyboard instruments in order to increase his facility, and his use of the pedal rose to unheard-of heights. He also became an expert in questions of organ construction, and was often called upon to give his opinion in this respect. He was very ingenious in his use of the stops and of artistic combinations, but, unfortunately, with one small exception, none of his registering has come down to us. He was never in command of a really fine instrument, and the above exception, which consists of the chorale “Ein feste Burg,” Peters, vol. vi., No. 22, seems to have been written for the newly arranged organ at Mühlhausen. It is for three manuals—the left hand has to play on a “fagott,” and over the right hand is written “sesquialtera.” These directions are omitted in Peters’ edition, but are given in Walther’s collection at Königsberg.
Halle Incident
In 1713 he went to Halle, where a large organ of sixty-three stops had recently been placed in the Liebfrauenkirche. Here he won laurels by his magnificent playing, and, since the post was vacant through the death of F. W. Zachau, he offered his services to the Council as organist. He remained long enough to go through the prescribed test of composing and conducting a cantata, after which he returned to Weimar in haste to fulfil his engagements. The authorities of the church wrote to him stating the salary and conditions, but Bach, considering that the payment was inadequate to the amount of work, returned the agreement they had sent him to sign. The Halle authorities then said that Bach had only opened the negotiations in order to obtain an increase of salary at Weimar. This naturally annoyed him, and drew from him a firm and dignified answer to the affront.
In 1714 Bach went to Cassel to try an organ, which had been recently renovated. His extraordinary execution, especially on the pedals, so astonished the Crown Prince Friedrich (afterwards King of Sweden) that he drew a valuable ring from his finger and presented it to him.
On the first Sunday in Advent 1714 he paid his first visit to Leipsic, where he conducted his cantata, “Nun Komm, der Heiden Heiland,” and made the acquaintance of Kuhnau, Cantor of the Thomas Church, whose works he much admired.
Order of church service
The autograph score of this cantata is still in existence, and on it is noted, in Bach’s own hand, the order of the service in just the same way as any modern organist, who was taking a service in a strange church, would note it. The order on this occasion was a prelude on the organ, then a motet, then the kyrie, which was preceded by a prelude on the organ. Then came the epistle, the litany (which was sung), and the prelude to the chorale. Then the gospel, and after this the cantata, which was also preceded by a prelude. To this followed the sermon, then the Communion, during which he had to extemporise another prelude to a chorale, and the service concluded with a voluntary on the organ.
The organ solo portions of the service were all called “Preludes”; and it does not seem that a concluding “voluntary” was usual. The prelude was played at the beginning of the service, and before the chorales. With us it is customary to simply play through the tune of a hymn or chant, in order to let the congregation know what they are to sing, and to give them time to find their places in the books. In Germany an artistic and somewhat elaborate prelude, in which the organist is expected to show his skill, precedes each chorale.